This engrossing new novel by acclaimed author Susan Lang continues the saga of Ruth Farley, the fiercely independent young woman who was the protagonist of Small Rocks Rising, published by the University of Nevada Press in 2002. Ruth is still on her homestead at the end of a rugged canyon in California’s Mojave Desert, still struggling to survive on her own and to recover from a brutal rape and the murder of her lover. Now she must also face the responsibility of motherhood. The ensuing story expands Ruth’s world to encompass the panorama of Depression-era Southern California—miners and ranchers hanging on until times are better; Indians trying to preserve their ancient culture and identity; Okies, vagrants, and breadlines; the wealth and glitter of the movie industry; and narrow-minded small-town gossips. Ruth’s life also expands as she adjusts to motherhood, trying to maintain her autonomy and isolation and trying to preserve the tenuous web that links her to the seductive ruthlessness of the desert and to its ancient people and their wisdom. Ruth is one of the most engaging characters in recent fiction, complex and contradictory, stubborn and vulnerable, passionately in love with her austere desert home. Lang tells her story, the saga of a fully modern woman seeking her own identity and destiny against the turbulent, colorful setting of the rapidly changing twentieth-century West.
“The novel was begun in 1926, when I was twenty-four years old and working as a telephone engineer in Imperial Valley, on the California-Baja California border. During my stay there I made a horseback trip down into the little-known desert interior of Lower California. After having lived all of my early years in the high Rockies of California, I was unprepared for the vast sweep of sunstruck desert with its flat wastes, clumps of cacti, and barren parched-rock ranges. Its emotional impact was so profound, I was impelled to give voice to it with pencil and paper.”
— Frank Waters
First published in 1930 under the title Fever Pitch, The Lizard Woman is Frank Waters’ first novel. It foreshadows a theme central to Waters’ later work: that we must attune our spirits to the land to fully understand our places in the natural order.
Los Angeles's experience in managing urban growth and change
America's first truly twenty-first-century metropolis, Los Angeles is often depicted as diverse, fragmented, polarized, and ungovernable, a city without a unifying geographic center or civic culture. The sprawling evolution of the city and its infamous problems—traffic, pollution, growing inequality—are usually attributed to a Wild West version of capitalism—the triumph of an unregulated free market over comprehensive urban planning. But market choices and lack of planning did not set the terrain of Southern California: Los Angeles has been profoundly shaped by a wide range of local, state, and federal public policies and programs.
Up Against the Sprawl details how governmental policies and public agencies have dictated many aspects of the region’s growth: infrastructure, transportation, housing, immigration, finances, civic and regional administration, the environment. The authors also argue that since public policy set the landscape, it can help forge the future. They explore countermovements by progressive activists to use innovative policies—from smart growth initiatives to the actions of living wage advocates—for greater social, economic, and environmental justice. This book is a major contribution to our understanding of past and present urban processes and policy, and highlights practical lessons for urban and regional policy makers and activists in Los Angeles and beyond.Contributors: Carolyn B. Aldana, California State U, San Bernadino; Carol S. Armstrong; Michael Dear, U of Southern California; Gary Dymski, U of California Riverside; Steven P. Erie, USC; Gregory Freeman; William Fulton; Elizabeth Gearin, USC; Genevieve Giuliano, USC; Pascale Joassart-Marcelli, U of Massachusetts, Boston; Enrico A. Marcelli; Myra A. Marks, Loyola Marymount U; Juliet Musso, USC; Stephanie Pincetl, USC; Laura Pulido; Christine M. Ryan; John P. Wilson.In summer 2014, a surge of unaccompanied child migrants from Central America to the United States gained mainstream visibility—yet migration from Central America has been happening for decades. U.S. Central Americans explores the shared yet distinctive experiences, histories, and cultures of 1.5-and second-generation Central Americans in the United States.
While much has been written about U.S. and Central American military, economic, and political relations, this is the first book to articulate the rich and dynamic cultures, stories, and historical memories of Central American communities in the United States. Contributors to this anthology—often writing from their own experiences as members of this community—articulate U.S. Central Americans’ unique identities as they also explore the contradictions found within this multivocal group.
Working from within Guatemalan, Salvadoran, and Maya communities, contributors to this critical study engage histories and transnational memories of Central Americans in public and intimate spaces through ethnographic, in-depth, semistructured, qualitative interviews, as well as literary and cultural analysis. The volume’s generational, spatial, urban, indigenous, women’s, migrant, and public and cultural memory foci contribute to the development of U.S. Central American thought, theory, and methods. Woven throughout the analysis, migrants’ own oral histories offer witness to the struggles of displacement, travel, navigation, and settlement of new terrain. This timely work addresses demographic changes both at universities and in cities throughout the United States.
U.S. Central Americans draws connections to fields of study such as history, political science, anthropology, ethnic studies, sociology, cultural studies, and literature, as well as diaspora and border studies. The volume is also accessible in size, scope, and language to educators and community and service workers wanting to know about their U.S. Central American families, neighbors, friends, students, employees, and clients.
Contributors:
Leisy Abrego
Karina O. Alvarado
Maritza E. Cárdenas
Alicia Ivonne Estrada
Ester E. Hernández
Floridalma Boj Lopez
Steven Osuna
Yajaira Padilla
Ana Patricia Rodríguez
Despite a genuine admiration for Native Hawaiian culture, white Californians of the 1930s ignored authentic relationships with Native Hawaiians. Surfing became a central part of what emerged instead: a beach culture of dressing, dancing, and acting like an Indigenous people whites idealized.
Patrick Moser uses surfing to open a door on the cultural appropriation practiced by Depression-era Californians against a backdrop of settler colonialism and white nationalism. Recreating the imagined leisure and romance of life in Waikīkī attracted people buffeted by economic crisis and dislocation. California-manufactured objects like surfboards became a physical manifestation of a dream that, for all its charms, emerged from a white impulse to both remove and replace Indigenous peoples. Moser traces the rise of beach culture through the lives of trendsetters Tom Blake, John “Doc” Ball, Preston “Pete” Peterson, Mary Ann Hawkins, and Lorrin “Whitey” Harrison while also delving into California’s control over images of Native Hawaiians via movies, tourism, and the surfboard industry.
Compelling and innovative, Waikīkī Dreams opens up the origins of a defining California subculture.
Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print.
An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."
Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.
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